By Emilyn Claid
Protecting fifty years of British dance, from Margot Fonteyn to leading edge modern practitioners resembling Wendy Houstoun and Nigel Charnock, definite? No! perhaps is an cutting edge method of acting and gazing dance. Emilyn Claid brings her existence adventure and interweaves it with educational thought and old narrative to create a dynamic method of dance writing. utilizing the Seventies revolution of latest dance as a hinge, Claid appears to be like again to ballet and ahead to British self sustaining dance that's new dance’s legacy. She explores the shifts in performer-spectator relationships, and investigates questions of subjectivity, absence and presence, identification, gender, race and wish utilizing psychoanalytical, feminist, postmodern, post-structuralist and queer theoretical views. Artists and practitioners, expert performers, lecturers, choreographers and theatre-goers will all locate this booklet an informative and insightful learn.
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Extra resources for Yes? No! Maybe... : Seductive Ambiguity in Dance
Sample text
I see the line of light, how it laps at the side of the stage; one small step to take between the dark and the light. I stand in preparation, turned out from hips; knees and thighs pulled up, shoulders and head balanced Performing ballet: real becoming illusion 25 1111 2 3 4 5 6 7 8 9 1011 1 2 3111 4 5 6 7 8 9 20111 1 2 3 4 5222 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 1 21111 symmetrically, weight evenly distributed through the centre of my feet. My right leg prepares by unfolding out in front of my body, foot stretched and pointed, right hip parallel with left hip, spine straight, shoulders centred above hips, neck relaxed, arms moving forward delicately curved, hands spaced apart by the width of my head.
Fonteyn appears in a grotto, stage right, which separates the water world from the human world. She pauses under the archway hovering in fifth position on pointe, arms above her head. Coming down off pointe, she becomes aware of her human arms, and caresses them. She watches each arm with its mermaid-like undulating movement, acknowledging how her water nymph persona has taken on a human form. Cautiously, she moves out of the grotto, stepping carefully with pointed feet onto the stage. Tentatively she explores her surroundings.
When myth gets hold of this full sign of the first semiological language chain, it becomes the new signifier, the raw material for a greater system, and the metalanguage of myth. The new signifier is ‘at the same time meaning and form, full on one side and empty on the other’ (Barthes 1973: 126). On the one hand, as a sign in the first semiological system, the image is full of meaning signifying the union between masculine body and feminine dancing. On the other hand, that image is an empty form ready for myth to fill it with a new set of signifiers.